and her Red Hot Bluesiana Band
Saturday, June 30, 2007 at 7:30 p.m.
at the Gualala Arts Center
Bluesiana Bar-B-Que at 6:00 p.m.
If your ears were tuned in to music in the 70s you must remember the
fabulous hit by Maria Muldaur, "Midnight at the Oasis!"
Now you will have the
opportunity of seeing her in person in the intimate setting of Gualala Arts Coleman
Auditorium for one night only. Come to thrill to the sound of her magnificent sultry
voice backed by her band playing out of this world music as only they can.
The release of her newest recording, Naughty, Bawdy & Blue, completes
the trilogy of albums the acclaimed singer has released as a tribute to classic women
blues singers from the 1920s through the 1940s. Both of Maria's previous albums in
this series for Stony Plain Records were nominated for Grammy Awards: Richland
Woman Blues (2001) and Sweet Lovin' Ol' Soul (2005). Check out her website at
to read all about this fabulous performer and to see her list of
performances to realize how lucky we are that she is coming to Gualala.
A critic in the San Francisco Chronicle describes her as:
"Muldaur approaches her material with a jeweler's precision, cutting each tune scrupulously
into a fine gem. She can sing circles around the young thrushes who dominate today's
Again Fred Adler, of our local radio station KTDE 100.5 FM, through his
connections to the international music scene, has been able to book this amazing
talent in association with Gualala Arts. Fred will be emceeing the event. Tune into Fred's broadcasts on Thursday evenings at 7:00 p.m. and on Sunday afternoons from 12:00 - 5:00 p.m.
to hear more of Maria Muldaur's music.
Tickets are $30 if purchased in advance or $35 the day of the event - if available.
Tickets are also available at the Dolphin, or at Violet's Boutique,
and the Four-Eyed Frog Bookstore in the Cypress Village during regular business hours. Or
call Gualala Arts at (707) 884-1138 weekdays 9:00 a.m. to 4:00 p.m. where Visa and MC are accepted. Don't miss this opportunity to hear a music sensation!
Thank you to the
for providing housing for the artists.
The Gualala Arts Culinary Guild is going to make it easy to get a great dinner before the concert. They are offering a Bluesiana Bar-B-Que in the picnic area of Gualala Arts Center at 6:00 p.m. Not only will you get great food, but everyone who buys dinner tickets in advance also gets to save their seats early for the 7:30 concert.
Dinner will be pork ribs basted in tangy secret sauce. Jim Grenwelge boasts about his famous baked beans. You also get creamy coleslaw and perfect potato salad. They'll even throw in some good old-fashioned cornbread. All this for $10 if you buy your dinner ticket early or $12 for you late-comers. We suggest you purchase in advance as there might not be any tickets left that day.
To get into the Bluesiana mood there will be a bar serving Southern Comfort, drink of choice of singer Janis Joplin, and for those of you roaring in on your bikes there will be Jack Daniels Mint Juleps. We can't promise hot summer nights on the coast, but a beer and iced tea always taste good with bar-b-que.
So pull up a chair, roll up your sleeves and dig in to a good ol' down home meal before listening to Maria Muldaur with her Red Hot Bluesiana Band.
Maria Muldaur's musical roots run deep. Born and raised in New York City's Greenwich Village, Muldaur was surrounded by bluegrass, folk, jazz, blues and gospel, but her very first musical influences were from the records of country and western singers Hank Williams, Kitty Wells, Hank Snow and Ernest Tubb. At age five, she would sing Kitty Wells' "It Wasn't God Who Made Honky Tonk Angels" while her aunt accompanied her on the piano. As a teenager, Maria tuned into early rhythm and blues and was an avid fan of Fats Domino, Little Richard, Clyde McPhatter and Ruth Brown. She became interested in the girl groups coming onto the scene and formed her own, The Cashmeres, while in high school.
As pop radio became less soulful, Maria turned to the wealth of American roots music that was being rediscovered right in her own backyard. On any given day, she could stroll through Washington Square Park in the Village and hear blues, jug band, gospel and old-timey music. Soon she was hanging out and joining in on nightly jams and song swaps called hootenannies.
In the Village, Maria soon became involved with The Friends of Old Timey Music, a group that traveled to the rural South to find legendary artists like Doc Watson, Bukka White, Skip James and Mississippi John Hurt, then bring them north to present them in concert to urban audiences. Aspiring young musicians like John Sebastian, Bob Dylan, John Hammond, Jr. and Muldaur were both pursuing and creating a new wave in American roots music.
"We used to have after-hours jams on Saturday nights," says Maria. "Blues legends like the Reverend Gary Davis would come over. I found myself sitting at the feet of not only him, but Mississippi John Hurt, Son House and blues diva Victoria Spivey." Deeply inspired by the pure mountain music of Doc Watson and the Watson Family, Maria left the intense New York scene and traveled to North Carolina to learn fiddle. During her extended visits with the Watson family, she soaked up Appalachian music and culture from the nightly gatherings on Doc's back porch.
After returning to New York from one of her Southern excursions, Maria was approached by John Sebastian, David Grisman and several friends who had formed a jug band and were about to record for Spivey Records. Victoria Spivey, owner of the label, encouraged the young band members to add Maria to their Even Dozen Jug Band. In preparation for the recording, Maria and her band mates pored through hundreds of old blues and jug band 78s.
"This was my first exploration of early blues and it was during this time that I first heard the early recordings of Memphis Minnie," Maria recalls. "I was deeply moved and influenced by her raw, soulful sound. To this day she remains one of my main musical inspirations. I avidly listened to all of the early women blues singers and added many of Bessie Smith's and Ma Rainey's bawdy songs to my repertoire. Before I knew it, Victoria Spivey took me under her wing and with her encouraging tutelage, I was singing the blues!"
When her band mates went off to college, Maria migrated to Boston and joined the popular Jim Kweskin Jug Band. Her first recorded song with them was "I'm a Woman," the anthem of feminine power and joyful sexuality. It has been her theme song ever since. The Kweskin Band recorded several albums together and during this time Maria married and had a daughter, Jennie, with fellow band mate Geoff Muldaur. When the group disbanded in 1968, the couple remained with Reprise, recording two acclaimed albums, Pottery Pie and Sweet Potatoes. By this time, they were residing in Woodstock, New York and became part of a new musical community that included Bob Dylan, The Band, Paul Butterfield, Janis Joplin's Full Tilt Boogie Band and many other notable artists. These musicians had already made the transition from acoustic folk music to a more full-blown contemporary (and lucrative) electric sound. The musical environment was fertile and led to creative collaboration. "During numerous all-night jam sessions, musicians like Paul Butterfield and Rick Danko encouraged me to express myself with the raw power and energy that would equal the intensity of their playing." Ironically, it was Geoff who joined Butterfield to form Better Days, thus dissolving the musical and marital partnership with Maria.
On a visit to New York City, Maria had a chance encounter with Mo Ostin, the president of Reprise Records. Upon learning that she and Geoff were no longer together, Ostin offered Maria the opportunity to make her first solo album. Maria Muldaur went platinum in two years and forever enshrined Maria in the minds of baby boomers the world over. "Midnight at the Oasis" remains to this day a staple song on multi-format radio. Four albums on Warner Brothers followed including her acclaimed second disc, Waitress in a Donut Shop, which contained her next hit single, a remake of "I'm A Woman." She invited her friends and musical heroes to join her musical adventures and the list is a who's who of the true lasting greats in American music: Dr. John, Ry Cooder, Paul Butterfield, Lowell George, Linda Ronstadt, Stevie Wonder, Jr. Walker, James Booker, Benny Carter, J.J. Cale, Kenny Burrell, Doc Watson and Hoagy Carmichael to name a few.
In the eighties, Maria recorded two critically acclaimed jazz albums, two gospel albums and one album of swing tunes for "kids of all ages." Sweet and Slow, a duet album with longtime collaborator Dr. John, featured songs by Fats Waller, Duke Ellington and another of Maria's blues heroines, Sippie Wallace. She also toured extensively with her band both in the States and abroad. Her frequent gigs with Dr. John led to a growing appreciation and fondness for the New Orleans sound. She incorporated that flavor into her own musical repertoire and dubbed this gumbo of straight ahead blues, R&B and Louisiana music, "bluesiana."
In 1992, Maria signed with Black Top Records. Louisiana Love Call, recorded in her beloved New Orleans, came at a time when American roots music began to experience a gigantic worldwide surge in popularity. The album featured guest appearances by Dr. John, Aaron and Charles Neville, accordionist Zachary Richard and guitar guru Amos Garrett. Instantly embraced by critics and fans alike, with impressive accolades coming in from everywhere, Louisiana Love Call was hailed as the best album of her career. Rolling Stone, People, Entertainment Weekly and Billboard, adult alternative radio and blues radio raved. The album was awarded "Best Adult Alternative Album of the Year" by the National Association of Independent Record Distributors. She also garnered a nomination for "Outstanding Blues Album" from the Bay Area Music Awards. The follow-up, Meet Me at Midnite, also won wide critical acclaim and was nominated for the WC Handy Blues Award. Maria holds the distinction of being Black Top's best-selling artist.
Maria Muldaur continued her lifelong musical odyssey with her debut album on Telarc Blues, Fanning the Flames. Recorded deep in the bayou country of Louisiana, Fanning the Flames was steeped in the fervent blues traditions of the South. Longtime soul sisters Mavis Staples, Bonnie Raitt and Ann Peebles joined Maria on several tracks as well as slide guitar wizard Sonny Landreth and R&B crooner Johnny Adams. Fanning the Flames garnered widespread critical acclaim and eventually cracked the Billboard Blues Chart.
Continuing her love affair with the "bluesiana" sound, Muldaur made songwriter Bruce Cockburn's "Southland of the Heart" the title cut for her second Telarc recording in 1998. As People magazine wrote, "Muldaur has got the blues... once you zero in on the emotional nuances of her finely weathered drawl, you'll hear an inspired change of heart - her voice becomes an oasis for troubled souls."
Dedicated to the incomparable pianist/vocalist Charles Brown, her 1999 release, Meet Me Where They Play the Blues, featured the last recorded appearance by the inventor of the "West Coast Blues." Too ill to make it into the studio, Brown's vocals on "Gee Baby, Ain't I Good to You" were recorded in a nursing home. In fact, Muldaur had originally chosen many of the songs for this project with Brown's piano playing in mind. Brown died that same year, but the music and spirit of this great Texas blues balladeer live on through this amazing project.
Muldaur's more recent Telarc efforts include A Woman Alone with the Blues, a 2003 tribute to jazz icon Peggy Lee, and the equally jazzy Love Wants To Dance, a 2004 collection of songs about love's alternately bright and melancholy sides. Heart of Mine, a collection of love songs originally penned by legendary folk balladeer Bob Dylan, was released in August 2006 to critical acclaim.
In the early days of the Village folk scene, Muldaur and Dylan often played side-by-side in the coffee house circuit. Muldaur remembers well the "deep, fervent, compassionate and amazingly perceptive" voice that Dylan brought to the many social issues of the early and mid-'60s during his Village heyday. But she insists that there was - and continues to be - more to Dylan music than commentary, protest and change. "It occurred to me," she says, "that while Dylan is mostly known for his scathing, perceptive, brutally honest and insightful songs of social consciousness, he has in fact, over the years, written many passionate, poignant love songs." Muldaur showcases this lesser known side of the Dylan legacy on Heart of Mine: Love Songs of Bob Dylan.
Tickets are $30 if purchased in advance or $35 the day of the event.
Call Gualala Arts at (707) 884-1138 weekdays 9:00 a.m. to 4:00 p.m.
Visa and MC accepted.
Presented by Gualala Arts in association with Fred Adler (KTDE 100.5 FM).
The Gualala Arts Center, located at 46501 Old State Highway in Gualala, CA,
is open weekdays 9:00 a.m. to 4:00 p.m., and weekends from noon to 4:00 p.m.
Please call (707) 884-1138 for more information, or email
Serving the coastal communities of northern Sonoma & southern Mendocino Counties.